Toshiro Mifune stars as Isaburo Sasahara, an aging swordsman living a quiet life until his clan lord orders that his son marry the lord’s mistress, who has recently displeased the ruler. Reluctantly, father and son take in the woman, and, to the family’s surprise, the young couple fall in love. But the lord soon reverses his decision and demands the mistress’s return. Against all expectations, Isaburo and his son refuse, risking the destruction of their entire family. Director Masaki Kobayashi’s Samurai Rebellion is the gripping story of a peaceful man who finally decides to take a stand against injustice.

Samurai.Rebellion.1967.WEBRIP.576p.x264.EAC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	2 h 0 min
Size: 	2.72 GiB
Video
Codec: 	x264
Resolution: 	1024x436 
Aspect ratio:  	2.35:1
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.280
Audio
#1:  	Japanese 2.0ch E-AC-3 @ 224 kb/s (Stereo)

https://nitro.download/view/15269A9D17E848F/Samurai.Rebellion.1967.WEBRIP.576p.x264.EAC3.KJNU.mkv

Language(s):Japanese
Subtitles:English

The post Masaki Kobayashi – Jôi-uchi: Hairyô tsuma shimatsu AKA Samurai Rebellion (1967) first appeared on Cinema of the World.

Quote:
At the publishing company “Fujin Shunju,” union executives Date, Kuroki, Imoto, and others were having a heated argument with President Ogawa over the raise of employees’ wages. Kuroki returns to his apartment and receives a call from the company president. Kuroki replied, “I have gone on an indefinite strike.” He used his position as vice chairman to sell information to the company. The president had promised him an important position in the future. That night, Kuroki met Yoshishige at a bar. The two were close friends who were involved in left-wing movements during their student days. There was also a physical relationship. Kuroki had formed a relationship with Yoshishige’s ex-wife, Yoriko Ogawa’s wife, who worked as a part-time tutor for Yoshishige, and he joined the company on that basis. He had not seen him since then. A few days later, Kuroki received a phone call from Yoshishige. We met him at the hotel. Goda, who was also a schoolmate and had not forgotten Kuroki’s betrayal, asked Yoshishige to check on him. Goda lost his leg during the oppression and now works for a left-leaning labor committee. Yoshishige learned that Kuroki had received a large sum of money from the company president to fund the union’s split, but he did not tell Goda. The union split. The cause was the support of Eto, a powerful man in the financial world, and Kuroki’s betrayal. Kuroki was looking for a way to get closer to Eto. But there was something he had to do before that. His goal is to clean up his relationship with Mrs. Yoriko, who has become useless. After the love affair, he insulted Yoriko for being old and ugly. Kuroki investigated the background of Eto’s daughter Fumiko. She learns that he will soon marry the son of Hani, a wealthy political figure, and that he once played with a man when he was a student. Kuroki used this as a joke to threaten Fumiko. He stole her body through violence. Eventually, Fumiko became Kuroki’s Toriko. He forced her father to break off her engagement with Hani and marry her to Kuroki. The situation progressed as Kuroki wanted. Meanwhile, the “Women’s Spring and Autumn” dispute has reached its worst stage. Members of the first and second unions got into a scuffle, and even police and gangsters intervened. Imoto was arrested. Kuroki was enjoying his last love affair with Yoshishige. Goda appeared. “Get away from my wife,” he screamed. Yoshishige told Goda that Kuroki had received a large sum of money from the president. The engagement announcement between Kuroki and Fumiko is coming tomorrow. Kuroki returned to his apartment after being sent by Fumiko. Imoto, who had been released, was hiding at the entrance. He hit him with a doss. Kuroki grimaced in pain and eventually lost consciousness. …

The Blue Beast 1960 HDTV 1080i AAC MPEG2 tattookiss-KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 35 min
Size: 	9.52 GiB
Video
Codec: 	MPEG-2
Resolution: 	1440x1080 ~> 1920x1080
Aspect ratio:  	16:9
Frame rate: 	29.970 fps
Bit rate: 	Variable
BPP: 	
Audio
#1:  	2.0ch AAC LC

https://nitro.download/view/56CC8F03EAC40A9/The_Blue_Beast_1960_HDTV_1080i_AAC_MPEG2_tattookiss-KG.mkv

https://tezfiles.com/file/632129bbe6b4c/The_Blue_Beast_1960_HDTV_1080i_AAC_MPEG2_tattookiss-KG.mkv

Language(s):Japanese
Subtitles:Japanese

The post Hiromichi Horikawa – Aoi yaju AKA The Blue Beast (1960) first appeared on Cinema of the World.

A guilt-haunted samurai warrior attempts to stop a massacre taking place.

2.74GB | 2h 03m | 1024×436 | mkv

https://nitro.download/view/F9BF80EBFA888A6/Goyokin.1969.Hideo.Gosha.576p.BluRay.DD2.0.x264.mkv

Language(s):Japanese
Subtitles:English,French

The post Hideo Gosha – Goyôkin (1969) first appeared on Cinema of the World.

Synopsis:
A Women’s Place follows the daily lives of the Ishikawa family who own a general goods store in Tokyo. The film’s opening sees the Ishikawa children rush to the bedside of their father after hearing that he collapsed. As all is well, they go on with their hurried lives. A mystery son later appears out of nowhere to upend the family order and stability.

2.43GB | 1h 51m | 1024×426 | mkv

https://nitro.download/view/BB0568EBE00539A/A_Woman’s_Place_(1962)_–_Mikio_Naruse.mkv
or
https://nitro.download/view/BB3B38D20EE0546/A_Woman’s_Place_(1962)_–_Mikio_Naruse.part1.rar
https://nitro.download/view/0DFEAAAF9E3D9AF/A_Woman’s_Place_(1962)_–_Mikio_Naruse.part2.rar
https://nitro.download/view/5B58CC011656EB0/A_Woman’s_Place_(1962)_–_Mikio_Naruse.part3.rar

Language(s):Japanese
Subtitles:English (muxed)

The post Mikio Naruse – Onna no za AKA A Woman’s Place (1962) first appeared on Cinema of the World.

A woman and her daughter are in love with the same man, a chef at the restaurant that the mother manages. He is slightly crippled from frostbite in his years in Siberian labor camps and considers himself “already dead.”

Quote:
An anomalous project that at first seems of interest primarily as an auteurist guessing game, but that emerges against the odds as one of the most affecting dramas of Naruse’s late period. Co-directed by Naruse and Yuzo Kawashima, the film begins with swirling color TohoScope credits and a bluesy orchestral arrangement in the style of American melodrama, and is keyed to the 60s luxury zeitgeist of soft jazz, brightly colored cars, and product placement. The multithreaded story, centered on a boisterous geisha establishment and a restaurant where the geisha ply much of their trade, gradually homes in on an uncomfortable love triangle: the manager of the restaurant (Isuzu Yamada) and her daughter Miyako (Yoko Tsukasa) are in love with the same man, the brooding restaurant cook Ita (Tatsuya Mihashi).

The credits give no indication of how Naruse and Kawashima collaborated. But the goal clearly wasn’t to make a seamless film: the styles of the two very different directors collide instead of blend, and the effect isn’t as disruptive as one would expect. Audie Bock writes, “Naruse filmed all of the older generation scenes and the Japanese restaurant scenes, while Kawashima did the younger generation and the geisha house scenes.” This breakdown looks right to me in its broad outline, and with a little acclimation I felt able to spot most of the directorial transitions. My sense is that Naruse did most or all of the scenes with the participants in the central love triangle, and also the significant subplot with Nozaki (Kazuo Kitamura), the mentally unstable ex-husband of the geisha Masae (Mitsuko Kusabue). It looks as if the directors divided their work along the aforementioned lines even within scenes and locations. For instance, a traveling shot of geishas walking down a hospital corridor to visit Ita looks like Kawashima in its proximity to the actors and wide-angle distortion; but when the geishas enter Ita’s hospital room, Naruse seems to take over. Likewise, the nearly choreographed opening pool scene is dominated by Kawashima’s exaggerated comic style; but I’m guessing that Naruse did the poolside shots with the restaurant owner Sonoda (Takashi Shimura) and his cohort, and with Miyako and her friend Shinobu (Yumi Shirakawa), Sonoda’s daughter. This schema gives more than half the film to Naruse; and, as Jean Narboni observed, EVENING STREAM “gives the strange impression of becoming a Naruse film little by little.” The effect is obtained not only by the preponderance of Naruse scenes, but also because the desolate dramatic progression of the script by Toshiro Ide and Zenzo Matsuyama is characteristic of Naruse’s best-known work. One ultimately senses that Naruse owns the project and merely rented out parts of it.

The easiest way to tell when Naruse takes over the film is that everyone starts to seem a little discontent! I’m exaggerating a bit, but the effect of subdued inwardness is conspicuous. It depends not only on acting, but also on the way Naruse tends to neutralize active, happy behavior by containing it in a wide and static frame, sometimes including more restrained performances in the same composition. By contrast, Kawashima has an essentially exuberant directorial temperament. He enjoys bending space to accommodate the demonstrative performances he likes, using shorter lenses than Naruse, habitually crowding the foreground, and often reframing to accommodate the actors’ brio. And he is happy to give the audience direct pleasure in color, movement and rhythm, whereas Naruse generally sacrifices sensory impact for less direct pleasures. At first Kawashima’s direction seems broad and unnuanced compared with Naruse’s, but his style has its charms: his exaggeration has a droll, knowing edge, and the uncomfortable subplots of one geisha’s date rape and another’s repeated suicide attempts show that Kawashima has sufficient control over tone to absorb serious material without breaking his comic stride. Surprisingly, the division of directorial labor does not diminish the film’s cumulative emotional power. The concept of subcontracting out a film’s comic relief is certainly peculiar, and yet perhaps no more disruptive than the idea of having comic relief in the first place.

The eventual mother-daughter confrontation causes the love triangle to collapse rather than detonate, as Naruse undermines the appeal of the male love object (who began the film as a romantic figure) and embarks on an anticlimax of uncomfortable but inevitable reconciliation and compromise. (Yamada, in her last role for Naruse, gives a pleasingly gentle and vulnerable performance as the mother, in a role that could have been played for melodramatic threat.) In a skillful narrative ploy, the energy of the central story is transferred to the parallel plot thread with the unstable Nozaki, which culminates in what may be the most terrifying and accomplished action scene in any Naruse film. But the filmmakers top themselves with a somber existentialist ending – not exactly a surprise, but the culmination of a shadow narrative that is constructed in opposition to the movie convention of self-sacrificing motherhood. Despite its immersion in contemporary youth culture, EVENING STREAM concludes by looking back into the past, enacting the traditional, already anachronistic ceremony of the new geisha’s introduction to her neighborhood.

by Dan Sallitt

1.70GB | 1h 50m | 846×360 | mkv

https://nitro.download/view/0B74D6DDB3E3796/Evening.Stream.1960.DVDRIP.x264.AC3.KJNU.mkv

Language(s):Japanese
Subtitles:English

The post Yûzô Kawashima & Mikio Naruse – Yoru no nagare AKA Evening Stream (1960) first appeared on Cinema of the World.

In 1966, Mikio Naruse made two films that featured elements of the suspense/thriller genre. According to IMDb, The Stranger Within a Woman came first in January. Then in April, this film was released

Here’s Michael Kerpan’s review of the film:
In Naruse’s next to last film, he returned to cinemascope format, but stayed with black and white film. This is once again, in terms of plot, a bit of a shocker. Soon after we meet Kuniko (a young widow, played by Hideko Takamine) and her much-beloved young only son, the boy is run over by Kinuko (played by Yoko Tsukasa the rich spoiled wife of an automobile executive). Kinuko, it turns out, was distracted at the time of the accident because her companion in the car, a hunkish younger man who is her lover, had just told her of his plan to soon begin a far-away job. Kinuko tells her husband of the accident (but not the precipitating cause), and he orders the corporate chauffeur (Yutaka Sada, who was also the unfortunate chauffeur in “High and Low”). Luckily for him, he gets off with a small fine and a suspended sentence.
Kuniko is disgusted, and while drowning her post-trial sorrows at a bar with her yakuza-ish younger brother, overhears an old lady discussing the accident with her friends, mention that “lady drivers are so dreadful”. As it turns out, the old lady was an eyewitness — and can describe the real hit and run driver. However, because the case has already been satisfactorily closed, the police take no interest in the story of Kuniko and her witness. Consequently, Kuniko decides to seek revenge on her own. She wangles her way into the executive’s household as a temporary domestic servant – and because she is so devoted, soon gets hired as a live-in maid, on a more permanent basis. While there, she fantasizes methods of taking revenge against the rich couple’s son (almost the same age as her own dead one). Kuniko actually makes a few furtive (but thwarted) attempts to carry out her plan of revenge against the boy. But, as she grows increasingly fond of him, she wonders whether she shouldn’t take revenge directly against his guilty mother instead. Meanwhile, Kinuko is growing increasingly distraught over the impending departure of her lover.

Since this is a suspense thriller, I’ll refrain from discussing the plot further.
This film is unique in Naruse’s output in that it not only makes frequent use of flashbacks (far more common in these late films than in earlier ones), but also actually depicts Kuniko’s fantasies (these are shown in very bright, very whitened tones). This technique turns out to be crucial in deciphering what actually happens at the climax of the film. It would seem that Takanine was not entirely comfortable with her part in this film as, from time to time, she resorts to more generic acting than was her norm. Not an entirely successful film, by any means, but nonetheless quite an interesting one.

1.25GB | 1h 34m | 710×315 | mkv

https://nitroflare.com/view/3A65EC5350272E5/1966_Hikinige_-_Mikio_Naruse.mkv
https://nitroflare.com/view/3878B8265FA4C9C/1966_Hikinige_-_Mikio_Naruse-ENG-2.srt
or
https://nitroflare.com/view/287549F670C6E1E/1966_Hikinige_-_Mikio_Naruse.part1.rar
https://nitroflare.com/view/B6A81BE6A35DAB4/1966_Hikinige_-_Mikio_Naruse.part2.rar
https://nitroflare.com/view/3878B8265FA4C9C/1966_Hikinige_-_Mikio_Naruse-ENG-2.srt

Language(s):Japanese
Subtitles:English

The post Mikio Naruse – Hikinige aka Hit and Run (1966) first appeared on Cinema of the World.

Two employees of rival ad agencies vie for the same contract, and each other’s hearts, in this restrained office drama from director Hideo Suzuki. Stars Yoko Tsukasa and Akira Takarada.

4.98GB | 1h 34m | 1280×550 | mkv

https://nitroflare.com/view/E76681F4F85F5B2/Women_of_Design_(1962).mkv
https://nitroflare.com/view/0F43C80E055ABD7/Women_of_Design_(1962).srt
https://nitroflare.com/view/1DFD37BF044637C/Women_of_Design_(1962)__jp_.srt
or
https://tezfiles.com/file/2db2de41050ae/Women_of_Design_%281962%29.mp4
https://tezfiles.com/file/e75ee42f7bf96/Women_of_Design_%281962%29.srt
https://tezfiles.com/file/871a0c57f9df5/Women_of_Design_%281962%29_%5Bjp%5D.srt>

Language:Japanese
Subtitles:English,Japanese

The post Hideo Suzuki – Sono bashoni onna arite AKA Women of Design (1962) first appeared on Cinema of the World.